Mississippi Jones Sets their Course on “Recourse: Elemental 1”

Mississippi Jones

What if Garbage went to Minneapolis and recorded in that funky R&B / rock hybrid style made famous by Prince, The Time and André Cymone ?

Missisipi Jones―comprised of vocalists / instrumentalists Mississippi and J@$―are the answer to that colorful inquiry.

Mississippi Jones represents the kind of artist unafraid to blur the lines between genre, gender, age, race or any other social lines. Yet, they wear their roots on their sleeve proudly. That juxtaposition makes for fascinating listening on their new extended play, Recourse: Elemental 1. The EP is set to precede a series of four EPs with varying sonic themes; the project will stretch throughout the remainder of 2015.

Recourse: Elemental 1 itself snatches up listeners and carries them along a broad journey with only three cuts. Opening with the fizzy “Mr. White,” the duo sets the tone to fussy fun for Recourse: Elemental 1. The remaining tracks “Stone Cold Killer” and “Tre (s)” alternate between fever and restraint. The rocky contrast will sate those looking for a listening experience that is fearless, but frothy.

Recourse: Elemental 1 had its platform dressed with the pair’s first album, Unreleased (2014)―another worthy entry for spinning. The act is poised for broader exposure and if they continue to keep their eye on quality, it’s almost promised that you’ll be hearing more of Mississippi Jones in the future.

[Editor’s Note: Recourse: Elemental 1 is currently available for purchase via CDBaby. For current information on Mississippi Jones, visit their official site.-QH]

Texas: 25 Years of Pop

Texas through 25 years.

Today,  Texas released their newest singles collection Texas 25 in the United Kingdom―the American release follows tomorrow. The commemorative set will attempt to chart the trajectory of this Scottish band whose name and (initial) sound cues came from the 1984 film ‘Paris, Texas’. The movie was scored by American rocker Ry Cooder.

Texas’ line-ups have shifted through the years, but three mainstays have stood at Texas’ center: guitarists Johnny McElhone and Ally McErlaine; vocalist / guitarist Sharleen Spiteri.

Texas 25

Over McElhone/McErlaine’s works, Spiteri’s incomparable range called to mind Dusty Springfield or Chrissie Hynde. Spiteri, despite those influences, brought her own unmistakable presence to Texas, helping them to sell over 35 million records globally.

Across 25 years, Texas lived up to the spaciousness likened to their nom de guerre; sadly it seems that Texas 25 falls shorts of encapsulating their musical diversity. Following the same erroneous pattern their first best-of from 2000 began, Texas abbreviates their legacy again. Several key singles are missing throughout the new set and classics accounted for have been retouched. Though the eyebrow raising “deluxe edition” will feature the hits in their original forms.

Longtime fans and newcomers are denied a chance to experience one of the most versatile popular music vehicles as they evolved. An attempt to gauge the creative pulse of Texas’ eight studio albums through this retrospective will remedy the oversight made by the band themselves.

Southside

Southside (Mercury) / 1989

Singles: “I Don’t Want a Lover,” “Thrill Has Gone,” “Everyday Now,” “Prayer For You”

Synopsis: The debut album that caused a sensation in the United Kingdom upon its release, Southside captured a young Texas, but one far from underdeveloped. It was here that Spiteri’s voice soared over robust guitar and drumming structures that called to mind American rock music. Underneath that ambitious sound arc was a soulful underpinning that bubbled to the surface. Noticeably on “Faith” there was a lush lyrical interpolation of Al Green’s “Tired of Being Alone”. Texas later gave the R&B chestnut a loving cover on the U.S. pressing of their junior effort, Ricks Road (1993).

Even among the cavernous classic rock of “I Don’t Want a Lover,” Texas’ blue-eyed soul twinkled. However, that flower still had a ways to go before it would take root and bloom.

Watch / Listen: “I Don’t Want a Lover”

Mothers Heaven

Mothers Heaven (Mercury) / 1991

Singles: “Why Believe in You,” “In My Heart,” “Alone With You,” “Mothers Heaven”

Synopsis:  Texas enjoying their roots rock was mistaken as laziness by some; Mothers Heaven was actually more progressive than Southside. A deeper listen demonstrated Texas’ pop instincts present in the more insistent melodies of “Dream Hotel” and the titular piece. The record buying public that embraced their brand two years preceding abandoned this recording inexplicably. As such, Texas has disavowed this recording. Output from this LP had been ignored for both their 2000 and 2015 retrospectives―an exception issued to their live effort, The BBC Sessions (2007) which contained some Mothers Heaven content. Texas’ sophomore project has kept a mysterious air.

If the listener has a preference for Texas during its earlier incarnation, Mothers Heaven is not to be ignored.

Watch / Listen: “Why Believe in You”

Ricks Road

Ricks Road (Mercury) / 1993

Singles: “So Called Friend,” “You Owe It All to Me,” “So In Love With You”

Synopsis: The final installment of the Texas traditional rock trilogy, Ricks Road dialed back on melody in favor of harder band instrumentation. It was an odd decision as Texas was in fantastic form already on their two previous efforts. Clearly the commercial cold of Mothers Heaven had shaken them―the chill only lifted slightly in Britain (their largest market) with Ricks Road. Texas did continue to gain traction on American college radio. Further U.S. exposure was gained when comedienne Ellen DeGeneres used “So Called Friend” as the theme song to her hit sitcom series ‘Ellen’ from its third season onward.

Texas had perfected their rock-and-roll and Ricks Road played like a closing chapter to an era in Texas’ discography. Coming from a place of affection rather than just imitation, Texas had proven their mettle as one of the better bands to emerge at the end of one decade and were ready to redefine their sound in a new one.

Watch / Listen: “So Called Friend”

White on Blonde

White on Blonde (Mercury) / 1997

Singles: “Say What You Want,” “Halo,” “Black Eyed Boy,” “Put Your Arms Around Me,” “Insane”

Synopsis: Here was the album that turned it all around and made Sharleen Spiteri the glamorous face of Texas overnight. Spinning off four U.K. Top 10 hits and moving 3.6 million units in England alone, White on Blonde’s alternative rock and soul put Texas at the axis of contemporary music in the U.K. and Europe. Spiteri’s voice wore a sensually darker guise than before on entries like “Insane” and “Good Advice”―this was far from a bad thing. Dramatic string arrangements zinged, guitars added aural pepper when needed and strong songwriting made it sing out to listeners.

Texas had finally managed to be a commercial, creative and critical darlings simultaneously. White on Blonde also announced that Texas were pop auteurs and their next album made this posh hypothesis fact.

Watch / Listen: “Black Eyed Boy”

The Hush

The Hush (Mercury) / 1999

Singles: “In Our Lifetime,” “Summer Son,” “When We Are Together”

Synopsis: One of the finest blue-eyed soul records ever crafted, The Hush pitched itself between sweet and salty aesthetics. This kept fans and critics wondering how Texas pulled off their second sonic makeover? If there was any doubt with White on Blonde, The Hush’s  material was an irrefutable shift from blues-rock to Motown. There was still a little sting present as heard on the bruising “Summer Son,” but Spiteri alternated from ripened falsetto (“Tell Me the Answer”) to expressive tones that showed her voice to be a bottomless well of hues (“Day After Day”).

Texas closed the 1990’s on a high with the triumph of The Hush. Though the group had begun to orbit the trio of McElhone / McErlaine / Spiteri, they retained only the best musicians.

Watch / Listen: “Summer Son”

Careful What You Wish For

Careful What You Wish For (Mercury) / 2003

Singles: “Carnival Girl,” “I’ll See It Through”

Synopsis: Often cited as “that difficult punk-pop record,” Careful What You Wish For sought to keep the polish from Texas’ two past LPs―but with something a little edgier. Those that yearned for the open fields of Texas’ earlier albums need not press play here; they were in firm command of their pop changeability on this LP. The two-pronged opener “Telephone X” and “Broken” eyed an even sexier Texas than before; yet, as the album spun―despite its energy―Careful lacked compelling songs.

It didn’t help that in the interim between The Hush and Careful, the U.K. and European pop scenes had gone through many changes. Only two singles manifested, “Carnival Girl” became the minor hit. As far as transitional records went, Careful What You Wish For was exceptional.

Watch / Listen: “I’ll See It Through”

Red Book

Red Book (Mercury) / 2005

Singles: “Getaway,” “Can’t Resist,” “Sleep”

Synopsis: If Careful What You Wish For was “too hard,” Red Book stood as a pretty pastel solvent to that record. The band sound had been considerably reduced, though Texas’ collaborative writing as a unit remained. After an odd preface meant to recall White on Blonde’s introduction “0.34,” “Getaway” acted as a paean to synth-pop as pioneered by Orchestral Manouevres in the Dark―think Junk Culture (1984) versus Dazzle Ships (1983). Elsewhere, Texas clumsily acclimatized to dance-pop (“Can’t Resist,” “Get Down Tonight”) with lackluster results.

The album was far from a disaster. If anything Red Book was another stylishly coiffed transitional offering, but the group had exhausted themselves. An eight year break ensued as the band pursued various paths. Spiteri recorded her inevitable solo debut Melody (Mercury, 2008) and its equally pleasing follow-up, The Movie Songbook (Mercury, 2010) in that interval.

Watch / Listen: “Getaway”

The Conversation

The Conversation (PIAS) / 2013

Singles: “The Conversation,” “Detroit City,” “Dry Your Eyes”

Synopsis: After almost a decade away, Texas reformed and released their best record to date. The Conversation managed to tie The Hush by recharging their pop while gingerly peering back to the organic feel of their first three records. The album, a succinct package of tunes, did not overstay its welcome on the denim twist of the title song to the country-pop waltz of “If This Isn’t Real”.  The band was present audibly throughout the course of The Conversation; Spiteri delivered the goods, her voice timeless as ever.

Sadly, The Conversation did not return Texas to the summit of the charts, but it did make a fair impact. More importantly, fans and critics resounded with praise for its rejuvenated spirit.

Watch / Listen: “Dry Your Eyes”

[Editor’s Note: All of Texas’ albums are in print digitally and physically; availability spans domestic and import releases. Texas 25 available now. For current information on Texas, visit their official website.-QH]

The QH Blend’s “Q Sounds” Vol. 2

Q Sounds for February 2015

Music is my lifeblood and as a writer about its culture, I need it―all the time. Whether scanning aisles in new or used music shops or spying on Amazon, I’m always buying and listening to new music. This format will allow me to capture what music I’ve bought each month and detail it for you, the readers. The three records highlighted will hopefully catch your attention and you’ll follow the purchase links included. Enjoy.

Made in America

Artist: Carpenters

Album: Made in America (1981, A&M)

Personnel: Karen Carpenter (lead / background vocals / percussion); Richard Carpenter (arranger / background vocals / producer)

Production Duties: Richard Carpenter

Vibe: Three years and a bevy of changes―personal and professional―had transpired since the Carpenters last full-length LP, Passage (1977). Made in America combined familiarity and (soft) acknowledgement of new trends present at the dawn of the 1980’s. Synthesizers were tastefully layered throughout parts of the recording, giving a touch of color to “(Want You) Back in My Life Again” and lead single “Touch Me When We’re Dancing”.

Deeper listening revealed a latent funkiness present on these numbers that could be traced backed to the aforementioned Passage album opener “B’wana She No Home”. Further, Karen’s aborted eponymous solo debut from 1980―thankfully released in 1996―informed the cool rhythmic approach the brother / sister duo weaved into Made in America.

Additional exploration of this urban pastel style might have given Made in America the “edge” to validate the Carpenters in critics eyes. Many detractors then felt that the Carpenters were not progressing far enough in their recorded output―even with the stated diminutive modernity present. Regardless, Made in America captured that classic Carpenters pop at its cinematic best. Richard’s score-like arrangements sprawled majestically on “Somebody’s Been Lyin'” and “Because We Are in Love (The Wedding Song)”. Both songs housed Karen’s impeccable tone wonderfully.

The latter song was a “happy ending” piece that called to mind Karen’s girl-to-woman transformation completed through ultimate romantic fulfillment. The eventual fact outweighed the fiction unfortunately, but did not remove the magic apparent on that cut or the remainder of Made in America’s contents.

A sharp spinner full of promise, potential and a sense of nostalgia, the Carpenters brand of sentimental pop never sounded better than it did on Made in America.

Watch / Listen: “Touch Me When We’re Dancing”

Purchase here

Seventh Tree

Artist: Goldfrapp

Album: Seventh Tree (2008, Mute / EMI)

Personnel: Alison Goldfrapp (lead vocals / background vocals / producer); Will Gregory (producer)

Production Duties: Mark “Flood” Ellis, Goldfrapp

Vibe: Goldfrapp’s Supernature (2005 / 2006), their junior effort, stood as one of the defining records of its decade. Their second (mostly) full-blown uptempo album after Black Cherry (2003) had distilled their sexy dance-pop to perfection. Where else could this pair―Alison Goldfrapp and Will Gregory―venture to now? For Goldfrapp, they peered back to the beginning; rather than resurrect their blitzkrieg blend of classical and electronic music that gripped Felt Mountain (2000), they dialed back. The folky air that permeated Seventh Tree may have disappointed at first listen.

The patient were rewarded with an album whose amber and gold hues charmed. Whereas the orchestral works of Felt Mountain were often marred by belching “bleeps” and “bloops,” here the strings were totally unobstructed. However, the stark violin work that characterized Black Cherry and Supernature was exchanged on Seventh Tree by a blend of violins and acoustic guitars. This musical marriage birthed atmospheric backdrops for “Clowns” and “A&E”.

Lyrically, Goldfrapp had always leaned on voyeurism versus crafting songs about themselves. That did not change on Seventh Tree, even if the stories behind songs such as “Eat Yourself” and “Cologne Cerrone Houdini” read as obtuse when introduced.

Forbearance was a virtue for previous fans of Goldfrapp’s preceding trio of recordings, but their music never felt more refreshing. Seventh Tree played as a portent for their lauded Tales of Us (2013) album, though its homogeneity placed it second behind the broader brightness of Seventh Tree.

Watch / Listen: “Happiness”

Purchase here

Super Critical

Artist: The Ting Tings

Album: Super Critical (2014 / 2015, Finca)

Personnel: Jules De Martino (background vocals / lead guitar / drums / bass guitar / piano); Katie White (lead vocals / bass drums /bass  guitar / guitar)

Production Duties: Jules De Martino, Andy Taylor

Vibe: Immediate darlings upon their arrival with We Started Nothing (2008), The Ting Tings were the hottest alt-pop pairing on the scene. Their flavorful follow-up, Sounds From Nowheresville (2012), did not receive as much affection upon its unveiling. De Martino and White stepped back and decided to retool their approach for their third project. Assisted by temperamental (and former) Duran Duran guitarist Andy Taylor, Super Critical benefited from a groove oriented focus without relinquishing good hooks.

When their lead single “Wrong Club” impacted, lazy commentators accused The Ting Tings of jumping on the disco revival “spearheaded” by Daft Punk and Pharrell in the last two years―this couldn’t have been further from the truth. Many previous disco resurrections had occurred before 2012, noticeably at the beginning of the last decade.

The Ting Tings dancefloor retrofit mined that unpretentious epoch’s feel with the flashy frippery of the title song and the mentioned cut “Wrong Club”. “Wrong Club,” in spite of its addictive floor filling pace, possessed that acerbic wit that made the pair’s songwriting angle so much fun on prior outings.

As the listener descended further into the LP, the beats stayed plentiful (“Do It Again,” “Communication”). The Ting Tings even saved space for a juicy 1990’s R&B throwback in “Wabi Sabi”. It’s a testament to De Martino and White’s abilities that they stood toe-to-toe with superstar Taylor throughout the LP. Once the album wrapped, at just nine tracks, Super Critical showed The Ting Tings far from ready to be relegated to the hipster band bargain bin.

Watch / Listen: “Wrong Club”

Purchase here

The QH Blend’s “Q Sounds” Vol. 1

Q Sounds for January 2015

Music is my lifeblood and as a writer about its culture, I need it―all the time. Whether scanning aisles in new or used music shops or spying on Amazon, I’m always buying and listening to new music. This format will allow me to capture what music I’ve bought each month and detail it for you, the readers. The three records highlighted will hopefully catch your attention and you’ll follow the purchase links included. Enjoy.

Make It Better

Artist: Dubstar

Album: Make It Better (2000, EMI)

Personnel: Sarah Blackwood (vocals); Steve Hillier (keyboardist); Chris Wilkie (guitars)

Production Duties: Dubstar, Mike “Spike” Drake

Vibe: Rising out of the fertile grounds of mid-1990’s British pop, Dubstar played like fellow Britons Saint Etienne with a touch of Garbage on Disgraceful (1995). When their third―and thus far final―long player Make It Better (2000) appeared, it was the lost link between the aforementioned Garbage’s Version 2.0 (1998) and beautifulgarbage (2001). It is easy to see why as Make It Better blended their elegant ennui with bottom heavy guitar grooves (“Take It,” “Stay,” “I’m Conscious of Myself”).

The edge worked well for Dubstar, but being the poppy trio they were they shone best in that arena―see lead single “I (Friday Night)”. Its country-lite licks worked well within its mock Tamla-Motown frame. Sarah Blackwood’s voice, in fine, siren form, was efficacious in capturing the listener.

Make It Better repackaged that disenchanted, but engaged Dubstar presence for the millennium. The (slight) up-to-date sheen placed on the overall album gave it a tastefully aware sense of a new decade dawning―thankfully it didn’t play like an eager set trying to be contemporary for the sake. Unfortunately, the record fell on disinterested ears and scored a minor hit with the previously discussed “I (Friday Night)”. Dubstar has since reformed and work is (seemingly) underway to follow-up this gem. If Make It Better is to signal the trio’s curtain call, they couldn’t go out on a more stylish note than they do here.

Watch / Listen: “I (Friday Night)”

Purchase here

Islands

Artist: Kajagoogoo

Album: Islands (1984, EMI)

Personnel: Steve Askew (guitar); Nick Beggs (lead vocals / bass / percussion / chapman stick); Stuart Croxford Neale (synthesizer / background vocals); Jez Strode (drums / percussion)

Production Duties: Kajagoogoo, Colin Thurston

Vibe: “Too Shy” was the immortal hit that defined this British New Romantic outfit, but the story was never as simple as that tune. The mentioned hit and its parent LP White Feathers (1983) were co-helmed by Duran Duran founder Nick Rhodes and their producer Colin Thurston. Many attributed the album’s success to Rhodes and Thurston’s involvement, but  Kajagoogoo were very present as a band on that project. By the time Islands appeared in 1984, lead vocalist Limahl had been ousted and went on to record his own solo entry Don’t Suppose (1984).

Islands evinced that the now four-piece Kajagoogoo were more than up to the task of handling their own affairs. Nick Beggs stepped up to lead singer duties; flitting between flash and restraint, his voice (and playing) matched his bandmates renewed passion.

Moving into a sophisti-pop vein, a movement that gained more traction globally during the mid-to-late 1980’s, Islands balanced rock fervor with jazz chops. Whether acidic and groovy on “Big Apple” or imparting hypnotic melancholia on the titular song, Kajagoogoo had found their voice in their post-Limahl tumult. The album culminated with an ambitious instrumental, “The Loop,” that would have fit perfectly on Sade’s Diamond Life (1984).

Islands began strong with the U.K. Top 10 hit “Big Apple”; later singles failed to make wider impact. Their U.S. traction was lost when Islands received no release there. Eager to shed preconceptions, the group (unwisely?) rechristened themselves as “Kaja” and birthed an amended EP for Islands entitled Extra Play (1984). No dice. Their last record, the funkier Crazy People’s Right to Speak (1985), met a similar fate. Despite being written off as one-hit wonders, Kajagoogoo’s Islands is a fantastic snapshot of British pop at an interesting interval with this band at their peak.

Watch / Listen: “Turn Your Back on Me”

Purchase here

Atlas

Artist: Kinky

Album: Atlas (2003, Nettwerk America / Sonic 360)

Personnel: Giberto Cerezo (vocals / guitars); Carlos Chairez (guitars); Omar Gongora (drums); Ulises Lozano (keyboards / programmer); Cesar Pliego (bass)

Production Duties: Kinky, Thom Russo

Vibe: Kinky (2002), the debut album, was an indie-hit; its mix of electronic pop, rock and Latin music was instantly addictive. Yet the album felt staid, as if the Mexican band was keeping their best tricks in the bag. The following year, their second album Atlas released the Kinky beast that would define all their later recordings. Atlas opened on a frenetic fusion high with “Presidente” before seguing into “The Headphonist”―that off-kilter jam featured co-lead vocals with Cake singer John McCrea.

The remainder of Atlas surfed between a miscellany of percussion―natural and artificial―electronic twitches and (surprisingly) quieter moments (“Not Afraid,” “Semillas de Menta”).  Atlas often gets admonished as Kinky’s most “alternative” outing, but (again) it set-off the chain reaction for the against the grain curve that personified later recordings: Reina (2006), Barracuda (2008) , Sueño de la Maquina (2011).

Kinky seemed to lean heavily on its electronic crutch, but Atlas tossed out the formula and went balls to the wall with its tunes. One of their most satisfying releases, Atlas shouldn’t be pegged erroneously due to its fearlessness to sonically wander.

Watch / Listen: “Presidente”

Purchase here

The QH Blend’s Class of 2004

Hello readers! If you missed my 2004-2014 retrospectives from throughout the year, I’ve collected them all for you here. See below for the specific link to the corresponding album that you’re interested in. My selections from 2014 will be appearing soon, so be on the lookout!

Emma Bunton: Free Me (read here)

Vanessa Carlton: Harmonium (read here)

De La Soul: The Grind Date (read here)

En Vogue: Soul Flower (read here)

Janet Jackson: Damita Jo (read here)

Gwen Stefani: Love. Angel. Music. Baby. (read here)

Hikaru Utada: Exodus (read here)

2004-2014 Retrospectives on De La Soul, Vanessa Carlton & Gwen Stefani

 

 

 

Artist: De La Soul

De La Soul, circa 2004

 

Album: The Grind Date

Label: AOI / Sanctuary Urban / BMG

Released: 10/5/04

Singles: “Shoomp,” “Much More,” “Rock Co.Kane Flow”

Synopsis: One of the most prolific and expressive outfits in hip-hop started the 2000’s ambitiously. Conceived as a three-part album series the “Art Official Intelligence” movement produced two records: Mosaic Thump (2000) and Bionix (2001). The LPs were fraught with commercial and creative turmoil. De La Soul persevered and decided to debunk their longtime label Tommy Boy Records to finalize the third installment in the AOI arc. The title of their album series also ended up becoming the name of  De La Soul’s own indie label.

The Grind Date began as the third entry to AOI, but ended up becoming its own record apart from that trilogy―AOI remains unfinished. Despite that creative question mark De La Soul left hanging with the AOI project, The Grind Date became their strongest effort since their mid-90’s stretch. The Grind Date featured only the best production from the likes of J Dilla, MadLib, 9^th Wonder, Supa Dave West and Jake One.

Perfectly pitched between acerbic rhymes (“Verbal Clap”) and their most tuneful music (“Much More”) De La Soul had found the bridge between musicality and contemporary acknowledgement. A decade has passed since The Grind Date’s appearance, but if this is De La Soul’s last album to date it’s a good way to wrap their legacy.

Ranking: Classic

[Watch / Listen: “Shopping Bags (She Got From You)”]

Artist: Vanessa Carlton

Carlton, circa 2004

 

Album: Harmonium

Label: A&M

Released: 11/9/04

Singles: “White Houses”

Synopsis: Carlton had ridden the crest of the post-Lilith Fair singer-songwriter boom with her debut Be Not Nobody (2002). It was easy to assume that her follow-up Harmonium would meet a receptive audience. Unfortunately, Carlton did suffer a “sophomore slump” commercially with the album―creatively the record struck gold.

Richer in its musical presentation (think Kate Bush or Tori Amos), Carlton still maintained lyrical intimacy throughout the record. The jaunty opener “White Houses” recalled Carlton’s own teenage youth, but could mirror anyone’s own “coming of age” experience. Carlton also continued to peer into the notion of love’s complexities with the two highlights of the LP being “San Francisco” and “Afterglow”. A nice compromise between the approachable pop of her debut and her newfound cerebral explorations, Harmonium gained a cult following among Carlton fans. The record influenced her next two records, notably the superb Rabbits on the Run (2011).

Ranking: Classic

[Watch / Listen: “White Houses”]

Artist: Gwen Stefani

Stefani, circa 2004

Album: Love. Angel. Music. Baby.

Label: Interscope

Released: 11/23/04

Singles: “What You Waiting For?,” “Rich Girl,” “Hollaback Girl,” “Cool,” “Luxurious,” “Crash”

Synopsis: It had been a long time coming, but No Doubt frontwoman Gwen Stefani unleashed one of the defining pop records of the decade with her solo debut Love. Angel. Music. Baby. Drawing from a wealth of influences―musically and visually―that included Harajuku culture, 1980’s pop and hip-hop, Stefani’s album was full of hits and strong non-single material.

The production muscle allowed Stefani’s lyrical ideas to soar: Jimmy Jam, Terry Lewis, Tony Kanal (bassist of No Doubt), Dr. Dre, Nellee Hooper, Dallas Austin, Andre 3000 (of OutKast). Whether waxing irreverent (“Rich Girl”), wacky (“Bubble Pop Electric”) or just creating something beautiful (“Cool”) Stefani was brilliant throughout the LP. It was the first single pulled from Love. Angel. Music. Baby. that hit hard―“What You Waiting For?” With a clever lyrical nod to the No Doubt b-side “Beauty Contest” (“Born to blossom, bloom to perish!”), Gwen’s awareness of her of solo flight risk was intriguing to hear.

One of the last great American pop records to emerge, Love. Angel. Music. Baby. proved that Stefani could be hip, smart and fashionable and that none of these concepts were mutually exclusive when it came to crafting pop music.

Ranking: Classic

[Watch / Listen: “What You Waiting For?”]

[Editor’s Note: All three albums are readily in print digitally and physically. Please see the respective official websites for current information: De La Soul / Vanessa Carlton / Gwen Stefani-QH]

Lenny Kravitz’s “Strut” Reviewed on Blogcritics

Kravitz, circa 2014

My essay on Lenny Kravitz’s new album Strut is up for reading now at Blogcritics, where it was first published. Kravitz hits it hard and fast on his 10th album in his third decade of recording. The record is in stores today. Make sure to check it out!

Alanis Morissette’s “So-Called Chaos” Turns 10 on Blogcritics

Alanis Morissette, circa 2004

My essay on Alanis Morissette’s  sixth LP, So-Called Chaos (2004), is up for reading now at Blogcritics, where it was first published. Celebrating its 10th birthday this month, this misunderstood album is given a second glance. Make sure to check it out!

Donna Summer’s “Lady of the Night” Turns 40 on Blogcritics

Lady of the Night cover

My essay on Donna Summer’s debut LP Lady of the Night (1974) is up for reading now at Blogcritics, where it was first published. Celebrating Donna Summer’s 40th year anniversary in popular music, I peer into this obscured gem of a recording and its impact on Summer’s recording legacy. Make sure to check it out!

 

Love Blonde: Kim Wilde Discussed

Kim Wilde: RAK Records era

Pop evolution will equate to one name: Madonna. In close succession comes Kylie Minogue and Donna Summer; those names may depend on the age group you’re speaking to. However, one woman preceded Madonna and Minogue while Summer was becoming a “wanderer”―her name is Kim Wilde.

Daughter of 1950’s idol Marty Wilde, Kim’s pedigree was assured and she began her journey in step with the advent of MTV and new wave. Remarkably, the full scope of Wilde’s discography, 13 albums in total, remains unexamined.

The (usually) immortalized image of Wilde is thus: high heeled boots, worn jeans and an unruly platinum mop. It’s easy to see why France dubbed Wilde “The British Bardot”. The expression mirrored a long romance with Wilde who continues to make chart ripples throughout Europe today. That’s not even touching on Kim Wilde being the most charted woman in England during the 1980’s. However, let’s not get ahead of ourselves, instead let us begin at the beginning.

“There was music & there was rhythm & there was something I can’t explain”.

1980-1983

Wilde, 20 years young and fresh out of art college, signed to the imprint RAK Records. What followed was the eponymous debut tailored for the music television generation. From the ironic “Brit creates nascent theme for disenchanted American youth” of “Kids in America” to the punk slathered “Chequered Love,” the singles of Kim Wilde seized the zeitgeist of the disco drop-off, on both sides of the Atlantic, perfectly.

“Kids in America” single cover

Album fare for Wilde’s self-titled affair didn’t dally; her hand at esoteric story songs, like “Tuning In, Tuning On,” was superb. The LP was written wholesale by her father and brother, Ricky Wilde. Due to this, Kim’s critical favor always orbited wariness with the British music press.

The best was yet to come though (!). In a move that betrayed her pop intentions, Select (1982) aligned itself with the New Romanticism movement. As the only woman in this sub-genre, the commercial reach of Select was limited to what it could have achieved. Wilde sussed out a balance of rock and synthesizer; the jittery “Ego,” the political panic of “Action City” and the desolation of “Cambodia” became favorites.

By the time Wilde’s junior record popped up, she’d embarked on a major tour in England and acquired all the “new kid on the block” accolades. Catch As Catch Can (1983) marked her first chart bust, but the record surpassed Select with its art. This time the guitars were ornamental as Wilde moved headfirst into synth-pop. Only the kooky “Love Blonde” (to which later Kylie Minogue’s own “2 Hearts” owed its roots) slightly nodded to the (polished) riff grit of Kim Wilde.

From the experimental (“Dream Sequence”) to politely danceable (“House of Salome,” “Dancing in the Dark“), Wilde’s third album played like a menagerie versus a record. The commercial failure of Catch As Catch Can overshadowed its creative merit; Wilde said goodbye to RAK and joined MCA Records.

“Look in the mirrors & see the heat of something new!”

1984-1988

When Wilde arrived at MCA, music was changing. Disco hadn’t (really) been banished, it became “dance music”. That development led to the 12″ format that took music media by storm and created demand for what is now commonly known as the “remix”. Into this scene stepped Wilde, ready to prove herself as a songwriter and beat back the growing criticism against her.

“The Second Time” single cover

Teases & Dares did just that; its glossiness drew from the rhythmic propulsion of “The Touch” and steely sex of “The Second Time”. Those singles were her primary 12″ mixes and led to an “on again, off again” courtship with dance. Wilde contributed her own compositions this time, two of which smarted in their delicacy: “Fit In” and “Thought It Was Goodbye”.

Wilde held fast to the avant garde vestiges of her RAK days: “Bladerunner” (a homage to the 1982 dystopian flick of the same name) and “Suburbs of Moscow”.  The only miss was the “Love Blonde” xerox of “Rage to Love,” ironically the biggest hit from the soft selling Teases & Dares.

Not seen at the time of its arrival as Wilde’s transitional doorway, 1986’s aptly titled Another Step is remembered for its dark Hi-NRG recasting of The Supremes’ “You Keep Me Hangin’ On”. Topping the singles chart at home in Britain, Wilde (briefly) conquered America with “You Keep Me Hangin’ On”. Wilde was the fifth British woman (out of six) to secure the pole position on the U.S Singles Chart.

Another Step was more than a Supremes cover, the LP platformed the 26 year-old reveling in shaping straight-ahead, smart, sexy pop music. Even with the gawky “rock & groove” bits of the initial side (the title track and “The Thrill of It”), Wilde landed sonic strikes that boomed: the anti-boys splendor of “Hit Him” and the “pop starlet playing R&B dress-up” of “Say You Really Want Me”. The latter’s music video was banned, deemed too steamy.

“Hey Mister Heartache” single cover

The second side possessed no less than five sophisti-pop smoldering pieces; “She Hasn’t Got Time For You” and “Missing” were the stars of the quintet. Another Step, with a smidgen of outside assistance (Dick Rudolph, Rod Temperton notably), was primarily piloted by Wilde herself; Dad Marty and brother Ricky were solid back-up.

Victorious, Wilde widened her audience and took an expressive step ahead. Sales were stable, but they were nothing compared to the approaching blockbuster of Close (1988).

The Close LP spun off hits in England and Europe: “You Came,” “Four Letter Word” and “Never Trust a Stranger” to name three. “Never Trust a Stranger,” a breathtaking paean to Donna Summer, was the stunner of the set.

A blend of youthful energy and austere tastefulness, Close serviced a variety of outlets and became Wilde’s biggest seller. Sweetening it all, Wilde was invited to open the European leg of Michael Jackson’s Bad World Tour. The only drawback was that Close couldn’t follow-up on the flashes of Wilde’s U.S. favorability. It was a shame as the R&B-pop tingle of “Hey Mister Heartache” wouldn’t have been out of place among the Exposé and Taylor Dayne hits of the day.

“Towards the open sky, gonna spread my wings & circle above”.

1990-1996

Emboldened by Close, Wilde’s Love Moves (1990) was indeed a labor of love. By now, she and her brother Ricky’s writing had improved immensely. Building on the adult contemporary element of Close, Love Moves was softer. Next to the urgency of Close, many wrote Love Moves off as an inferior follow-up; sales and critical reception were mixed.

“Love is Holy” single cover

Listening closely, the progression of Wilde’s voice astonished. Fuller and adept at song reading, she supercharged the singles “It’s Here” and “Time” (two of her prettiest entries) and non-singles with emotion: “Storm In Our Hearts,” “In Hollywood”.

Only the naiveté of “World In Perfect Harmony” grated, but its genuine affability was sympathetic. Wilde remained in demand as a performer, David Bowie had her open for his Sounds+Visions Tour the same year.

Stung by the apathy toward Love Moves, Team Wilde enlisted songwriter / producer Rick Nowels to join them on Love Is (1992). Shifting the gear higher (the guitars returned), Love Is gave Wilde a minor charter with the Belinda Carlisle-esque “Love is Holy”. Far better material strung throughout the album; the electric “I Believe In You” and wistful “Million Miles Away” saw Wilde sharpen the formula from Love Moves.

The problem was Wilde’s listening group had changed. She’d long since lost the hipster crowd indicative of her RAK period, and the youth market she flirted with at the dawn of her MCA tenure had moved on. Wilde had aged out into a niche base.

With all of that, Wilde logged a decade and three years into popular music, a milestone to be celebrated. An abridged “singles collection” appeared in 1993 with two new cuts. Of the two, Wilde’s take of Yvonne Elliman’s “If I Can’t Have You” was delightful, if dated (production wise). Wilde toured Europe, Australia and Japan in lieu of her singles package in 1994; the preparation for her next project had begun too.

“Shame” single cover

Nineteen-ninety five unveiled the controversial Now & Forever LP. Departed from her rock and synth,Wilde based herself in R&B textures that spanned acid jazz (“C’mon Love Me”) to hip-hop soul (“True to You”).  Wilde had been accruing a (somewhat) soulful presence since “Say You Really Want Me”; the bulk of Love Is temporarily halted that momentum.

Wilde’s vocals bore a heretofore unseen control (“Hypnotise*,” “Back to Heaven”) and the clean mid-tempos were contagious. Hampered by length and a few dated house duds (“Heaven”), its inherent charm of being Wilde’s vocal showcase was lost. In spite of the obvious passion that went into the recording, its singles “Breakin’ Away” and “This I Swear” couldn’t save what would be her final MCA record.

Outside a curious rendition of “Shame” (originally by Evelyn “Champagne” King) in 1996 as a “single only” release, Wilde’s focus shifted. The West End beckoned and she heeded its call to star in the rock musical ‘Tommy’. Constructed around the tunes of The Who, Wilde gave a lauded performance and met her future husband Hal Fowler on set. Wilde decided to take an indeterminate break from music; she’d pursue family and a lucrative career in horticulture / landscaping.

“Now’s the time to look further to the future”.

2006-Present Day

Wilde made her homecoming to music with Never Say Never, via EMI Germany, in 2006. The German deal made dollars and sense as Wilde enjoyed European returns throughout her career. The mass of Never Say Never was set-up by The Wilde’s (Kim and Ricky) with Uwe Fahrenkrog-Petersen; a European pop / rock sheen (think Roxette) steered the sound.

Between new material and revisited classics, Never Say Never was a safe bet. The day-glo romance of “You Came” (her second score with this song) and the bounce of “Four Letter Word” stood as the winning pair of the 2006 resets. Original material was so-so, though the electronic buzz of “Forgive Me” and “Maybe I’m Crazy” were divine for the Teases & Dares crowd. The record became a fair victory for Wilde.

“Lights Down Low” single cover

Cause to cheer came with Wilde’s first LP of new work, Come Out and Play (2010); this record was courtesy of Sony Music Germany. Kim and Ricky’s creative partnership cast an eye to the RAK eon with a modern rinse; additional album assistance came from Henrik Guemoes. Guitars and synths came together,  à la Select, on two of the album’s best points: “Lights Down Low” and “I Want What I Want”.

It cannot go without mention that Wilde’s two “comeback” recordings had her alongside a host of guests: Nena (of “99 Luftballons” fame), Charlotte Hatherley, Nik Kershaw and Glenn Gregory (of Heaven 17). Previously, Wilde’s contributions had been limited only to Junior Giscombe (on Another Step and Close) and Jaki Graham (on Love Moves).

Twenty-eleven ushered in Wilde’s covers record, Snapshots. Excellent song choices and the chemistry of reverence / reinvention were glimpsed on Wilde’s spins of Tasmin Archer’s “Sleeping Satellite,” Cilla Black / Dionne Warwick’s “Anyone Who Had a Heart” and Suede’s “Beautiful Ones”.

By this time, Wilde’s touring abilities were keen and she boasted defining performances in this phase of her career. Recently, Wilde wrapped a series of Christmas shows inspired by her (inaugural) holiday LP, the indie-issued Wilde Winter Songbook (2013). The record was her first commercial effort in England since Now & Forever.

It’s simple to dismiss Wilde as a “nostalgia act”; objectively, one can’t deny that Wilde’s music is as strong, curvy and endearing as any of her peers and followers. Yes, that includes Madonna.

[Editor’s Note: *-denotes British spelling. Kim Wilde’s discography is readily in print, digitally and physically, barring: Love Moves, Love Is and Now & Forever. The latter three can be purchased in used music retailers, all are imports. For current information on Kim Wilde, visit her official website. Special thanks to the Marcel Rijs official fansite, Wilde-Life.com.-QH]